Neil Jeffares, Dictionary of pastellists before 1800 Online edition BARBIER, Gilles-Paul “P. Barbier, 1793” (John Henderson, FSA, Paris bpd 20.IV.1768 – St Petersburg 1828 1865). Exh.: London 1865, no. 2712 Painter, miniaturist and lithographer, said to J.125.102 Young in white dress with orange have worked in Paris, London and St bandeau and shawl, pstl/ppr, 64x52.6 ov., sd Petersburg. His origins, hitherto obscure and → “P.B…/1797” (New York, Bonhams, confused by a number of homonyms, are 21.IV.2009, Lot 91 repr., Éc. fr., est. $3–4000, revealed by two documents in the registres de b/i) [new attr., ?; signature illegible] ϕα tutelles (AN). These show that he was baptised at Saint-Sulpice, 20.IV.1768, the son of a marchand-bonnetier, Antoine Barbier, and his wife, née Marie-Claude Duperray. Both were dead by 1790, leaving two minor children, Paul, and his sister Marie-Anne-Sophie. Their relations included several marchands- bonnetiers, and also (a cousin) Antoine Renou, secrétaire de l’Académie royale de peinture. Paul Barbier was awarded successively third, second and and first medals at the Académie royale between .IV.1781 and .X.1782. Evidently he emigrated to London, as he exhibited portraits, subject pieces (in unspecified media) and miniatures at the Royal Academy in London between 1792 and 1795 (from 9 Berkeley Street, 128 New Bond Street, 46 Conduit Street and 31 Margaret Street), and was the “Monsieur Barbier, an ingenious young painter, now in England” through whom Sir Joshua Reynolds communicated with the secretary of the Académie royale (Barbier’s cousin) to ascertain whether the Mona Lisa was still in the cabinet du roi. He may have been the “Mons. Barbier, gone abroad”, whose household furniture (but no pictures) at his villa, Fair Lawn House, Acton Green, was advertised for sale at Christie’s, 12– J.125.105 Jeune fille, pstl/pchm, 40.3x32.3, s ← 13.VIII.1796. “P. Barbier” (Hermitage inv. ОР-43539. All- A number of portraits in various media Union Society “Antiquariat”; acqu. 1939). survive from his Russian period (the collector Exh.: St Petersburg 2001, no. 1 repr. Lit.: Henri Brocard assembled a large group of his Каменская 1960, no. 1 repr. A/r Greuze pnt. drawings), but these are mostly nineteenth (Hermitage. Olim Yusupov Palace) Φ century although he is said to have arrived in St Petersburg around 1796. Apparently he married a housekeeper in the imperial laundries, and he taught drawing at the court. His subjects included portraits, genre pieces and mythological subjects. He is not to be confused with either of the painters called simply Barbier in the Almanach du commerce de Paris in 1805: at rue de Sèvres, 19 was the history painter, Jacques-Luc Barbier- Walbonne, while at quai des Augustins, 55 was Le Barbier, l’aîné (q.v.). Bibliography Bénézit; Cahen 1993; Michael Burrell, “Reynolds’s Mona Lisa”, Apollo, .IX.2006, n.25; Foskett 1987; Algernon Graves & William Vine Cronin, A history of the works of Sir Joshua Reynolds, 1901, p. 1606; Lemoine-Bouchard 2008; Saur; Алексей Савинов & Наталья Семенова, J.125.108 Deux enfants, lisant, pstl/ppr, 58x51, sd “Русский коллекционер Генрих Брокар”, “P. Barbier 1811 mai” (Moscow, Pushkin Наше наследие, 93/94, 2010; AN Y5192A, Museum, inv. 3019. M. B. Benediktov, Y5196A, registres de tutelles, 8.VII.1790, Moscow; acqu. 1937). Lit.: Данилова 1995, p. 4.XI.1790 307 repr., olim attr. Barbier-Walbonne ϕ Pastels J.125.101 John William STEERS [(1743–1826) of the Inner Temple, collector of Hogarth, godfather of Georgiana, dau. of John Henderson of Montague Street], crayons, sd Online edition – all rights reserved 1 Updated 23 June 2020 .